Los Angeles

Michael Gonzalez

Kohn Gallery

It’s appropriate that Michael Gonzalez’s latest show, throughout which bobs a surprising scatological referent, is unveiled as the art world is in economic middive. Recession implies regression, insofar as productivity is the criterion we use to distinguish infants, who take pleasure in shitting, from grown-ups, who take pride in shitwork. Not working, in turn, means reverting—relinquishing adult independence. Representing an in-between state, artmaking is celebrated as the closest that a laborer can come to doing squat.

Prior to this outing, Gonzalez was known for assembling tiny, disparate machine parts into decidedly idle gizmos. A sense of squandered industriousness survives in this latest batch of work, but now he applies himself to making structures rather than entities; the new works are differentiated less by individual personality than by patterns and rhythms. The wide variety of

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